Description

The aim of the psychology of music is to understand musical phoneomena in terms of mental functions--to characterize the ways in which one perceives, remembers, creates, and performs music. Since the First Edition of The Psychology of Music was published the field has emerged from an interdisciplinary curiosity into a fully ramified subdiscipline of psychology due to several factors. The opportunity to generate, analyze, and transform sounds by computer is no longer limited to a few researchers with access to large multi-user facilities, but rather is available to individual investigators on a widespread basis. Second, dramatic advances in the field of neuroscience have profoundly influenced thinking about the way that music is processed in the brain. Third, collaborations between psychologists and musicians, which were evolving at the time the first edition was written, are now quite common; to a large extent now speaking a common language and agreeing on basic philosophical issues.

The Psychology of Music, Second Edition has been completely revised to bring the reader the most up-to-date information, additional subject matter, and new contributors to incorporate all of these important variables. The book is intended as a comprehensive reference source for both musicians and psychologists.

Key Features

@introbul:Key Features
@bul:* Concert Halls: From Magic to Number Theory

Music and the Auditory System

The Perception of Musical Tones

The Perception of Singing

Intervals, Scales, and Tuning

Absolute Pitch

Grouping Mechanisms in Music

Processing of Pitch Combinations

Neural Nets, Temporal Composites and Tonality

Hierarchical Expectation and Musical Style

Rhythm and Timing in Music

Music Performance

The Development of Music Perception and Cognition

Musical Ability

Neurological Aspects of Music Perception and Performance

Comparative Music Perception and Cognition

Readership

Graduate and professional psychologists interested in cognition, information processing, and music. Musicologists and theoreticians.

Details

Reviews

"Chapter titles show continuing interest in many of the traditional topics--rhythm, melody, scales, musical ability, the nature of sound--and also in newer areas of inquiry, e.g., the neuropsychological study of musical perception. The editor has succeeded admirably in making this edition a valuable and timely resource for musicians and psychologists at the upper-division undergraduate level and above."
@source:--CHOICE, reviewed by W. M. Bigham, Emeritus, Morehead State University, March 1999

About the Editors

Diana Deutsch Editor

Affiliations and Expertise

University of California, San Diego, U.S.A.

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